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Singers from Adele to Justin Timberlake have sung stinging goodbyes. By John Mitchell Katy Perry performs “Part of Me” at the 54th Annual Grammy Awards Photo: Robyn Beck/ AFP/ Getty Images The breakup song is a rite of passage for just about every singer. Mostly, they’re sad-sack anthems about moving on, but every so often, the wound is raw enough that the artist is inspired to issue their former lover a cutting message: I’m better off without you. That’s what Katy Perry seems to be doing with her new single “Part of Me,” which she premiered at the Grammy Awards on Sunday. With lyrics like “Days like this I want to drive away/ Pack bags and watch your shadow fade/ You chewed me up and spit me out like I was poison in your mouth/ You took my life, you drank me down/ But that was then and this is now,” it’s pretty clear she is dressing down her ex, Russell Brand, and has no intention of beating around the bush. Need less-obtuse lyrical evidence that the song is about Brand? Later, she sings, “You can keep the diamond ring, it don’t mean nothing anyway/ In fact, you can keep everything, except for me.” Perry has only exchanged rings with one gent, and that’s Brand. But this isn’t her first kiss-off track: On Teenage Dream , Perry laments a love gone wrong on “Circle the Drain,” which she reportedly penned about her relationship with Travie McCoy. It doesn’t present a flattering picture of her time with the Gym Class Heroes frontman. “You fall asleep during foreplay/ ‘Cause the pills you take/ Are more your forte,” Perry sings. “Wanna be your lover/ Not your f—ing mother/ Can’t be your savior/ I don’t have the power/ I’m not gonna stay and watch you circle the drain.” Ouch. Whether “Part of Me” or “Circle the Drain” will stand the test of time to rank alongside the most-famous kiss-off songs in pop history remains to be seen, but Perry has certainly got people talking right now. From Gloria Gaynor’s disco classic “I Will Survive” to George Michael’s “Faith” and pretty much half the songs in Kelly Clarkson’s catalog, it’s a genre that could use a little fresh blood, though these five (relatively) recent additions to the cannon do a pretty solid job of holding down the jilted-and-not-having-it fort. Justin Timberlake, “Cry Me a River” and “What Goes Around … Comes Around” We’re giving Justin Timberlake a little extra shine on our kiss-off list because he did the genre justice by bringing the sex to it then coming back for more — which is a pretty good metaphor for how we’d like to break up with him. “What Goes Around” was in many ways a sequel to Timberlake’s 2002 single “Cry Me a River,” from his debut solo set, Justified . “River” details the dissolution of a relationship after his girl cheated on him and is allegedly a behind-the-scenes look at what really ended his three-year relationship with Britney Spears. “I’m not going to specifically say if any song is about anybody,” Timberlake told MTV when asked who the ballad was about. “I will say writing a couple of songs on the record helped me deal with a couple of things.” Noted. Timberlake returned to the post-Britney well for “What Goes Around,” from 2006’s FutureSex/LoveSounds , though for his second spin, the spurned heartthrob changed the message from “How could you?” to “You’re gonna get yours.” The lesson here is clear: Do not cheat on JT unless you would like several awesome pop songs assassinating your character penned in your honor. (And, really, wouldn’t you rather be the subject of “LoveStoned”?) Adele, “Rolling in the Deep” While assembling this list, we tried to keep it to songs where we could identify the subject (i.e. Britney in “Cry Me a River,” Carey Hart in Pink’s “So What,” which you’ll find below), but we’re making an exception for Adele ‘s “Rolling in the Deep.” The song is so ubiquitous after its many Grammy wins and so famously about her ex that it is impossible to ignore. And while Adele has never spoken publicly about who the songs on her massive album 21 are about — and the guy has smartly never stepped forward to say, “Yeah, I’m the one who was pretty awful to the world’s current favorite singer” — “Rolling in the Deep” is still without question the most-stinging kiss-off song in recent memory. The powerhouse vocalist doesn’t sugarcoat her feelings, singing, “Finally, I can see you crystal clear/ Go ‘head and sell me out and I’ll lay your s–t bare/ See how I leave with every piece of you/ Don’t underestimate the things that I will do.” Depending how you look at it, Adele possibly offered up the harshest kiss-off ever in the history of sound. If it wasn’t bad enough to have an album’s worth of songs dedicated to how much you sucked as a boyfriend, we wonder what it feels like to watch that album go on to win six Grammys and sell close to 7 million copies, seemingly en route to becoming the first 10-time platinum album in the U.S. since Usher’s 2004 Confessions . They say looking good is the best revenge (and she did that too, looking glam and trim on Grammy night), but we think Adele’s critical and commercial success probably stings the hardest. Pink, “So What” Our thoughts on success killing the game when it comes to slapping your ex in the figurative face also applies here: “So What,” the lead single from Pink ‘s fifth studio album, 2008’s Funhouse , was the singer’s first #1 hit. (Doesn’t that seem strange? It’s true though.) This song was written by Pink while she and Carey Hart were separated and the oft-brutally honest singer did not hold back when it came to taking shots at the motocross superstar. The song’s chorus says it all: “So, so what/ I’m still a rock star, I got my rock moves/ And I don’t need you/ And guess what, I’m having more fun/ And now that we’re done, I’m gonna show you tonight/ I’m alright, I’m just fine/ And you’re a tool/ So, so what/ I am a rock star, I got my rock moves/ And I don’t want you tonight.” Hart must be into that sort of thing, however, because he and Pink reunited not long after the song was recorded and he even good-naturedly cameos throughout the video. The pair now have a baby girl, Willow, and appear happier than ever. Maybe it took a good kiss-off for these two love birds to realize they couldn’t live without each other. Alanis Morissette, “You Oughta Know” In case you don’t know already know, this angst classic is all about Dave Coulier, a comedian-actor best known as Joey Gladstone on the former ABC sitcom “Full House.” Yes, Alanis Morissette wonders if Uncle Joey is thinking about her when he’s, you know, getting busy with his new girl. Eek. Once you know this song is about Coulier, it’s difficult to watch “Full House” the same way. After all, we learn an awful lot about his relationship with the much-younger Morissette — including that we should probably give them a rundown on what you are and are not permitted to do in a movie theater. Sure, there are more-recent breakup tracks and, yes, we were trying to keep this list contemporary, but much like the end of a relationship gone sour, it’s hard to shake a great kiss-off song. What’s your favorite kiss-off song? Tell us in the comments below! Related Videos Greatest Kiss-Off Songs Of All-Time Related Artists Katy Perry
Written by Dolly Parton, the ballad was nearly recorded by Elvis Presley. By John Mitchell Whitney Houston in her “I Will Always Love You” video Photo: Arista Records On Sunday night’s Grammy Awards, Jennifer Hudson paid tribute to the late Whitney Houston , who was found dead a day earlier in Beverly Hills, by delivering a teary-eyed rendition of her most famous song, “I Will Always Love You.” What many do not know is that “Love You” is a tune with a long and interesting musical history that dates back to 1974 and has a connection to the King of Rock and Roll, Elvis Presley. “I Will Always Love you” was written by country superstar Dolly Parton on June 6, 1974, as the second single from Parton’s 13th solo studio album, Jolene. That’s right, by 1974, Dolly Parton had already released 13 albums. And it may interest fans of the song to know that while “I Will Always Love You” is most certainly a love song, it’s not really about the deeply passionate parting of two lovers that was conveyed in Houston’s cover; the song is about Parton’s professional parting of ways with her onetime partner and longtime mentor Porter Wagner. The song went all the way to #1 on the country charts, and along with “Jolene,” arguably one of Parton’s finest songs, propelled her out of Wagner’s shadow and onto the country A-list in her own right. The song brought Parton a fan in the unlikely form of rock god Elvis Presley, who expressed interest in recording a cover version of the tune. This, of course, delighted Parton. There was a catch, however: Elvis’ formidable manager, Tom Parker, insisted that she sign over 50 percent of the publishing royalties to Presley. That was a problem for Parton, who had a policy against signing away her publishing rights — no matter how big the star wanting to record her track. “He was planning to record my song, ‘I Will Always Love You.’ He invited me down to the studio, and the day of the studio, Colonel Tom Parker called and said that they only recorded songs that they had the publishing on, and I couldn’t do that,” Parton told David Letterman in 2010. “That broke my heart, because I loved Elvis. “I cried all night. Other people were saying, ‘You’re nuts. It’s Elvis Presley. I mean, hell, I’d give him all of it,’ ” Parton said. “I said, ‘I can’t do that. Something in my heart says don’t do that.’ And I just didn’t do it, and they didn’t do it.” Parton re-recorded the song herself in 1982 and included it on the soundtrack to her film “Best Little Whorehouse in Texas.” It again went to #1 on the country charts, making Parton the first artist ever to earn a #1 record twice with the same song as a singer. (Once Houston’s cover hit the top of the charts, she became the first songwriter ever to hit #1 three times with the same song.) Like so many other iconic moments in pop culture, Houston’s cover of “I Will Always Love You” wasn’t even supposed to happen. She originally intended to cover Jimmy Ruffin’s “What Becomes of the Brokenhearted” as the lead single from “The Bodyguard” until she found out the song had been used just one year earlier in the 1991 film “Fried Green Tomatoes.” Houston’s “Bodyguard” co-star Kevin Costner attempted to remedy the situation by introducing the singer to Linda Ronstadt’s 1975 version of “I Will Always Love You,” and Houston loved the song. She decided to rearrange it as a soul ballad with producer David Foster, and a classic was born. Houston and Foster, it seems, were not intent on owning the song’s publishing rights. With Houston’s legendary voice laid on the track, “I Will Always Love You” went on to become one of the biggest singles in music history, spending 14 weeks at the top of the Billboard charts — a record at the time — and helping “The Bodyguard” soundtrack sell 44 million copies worldwide to become the biggest soundtrack of all time. Eternally good-hearted, Parton complimented Hudson on her performance of the song at the Grammys and praised Houston’s amazing gift in a statement earlier Monday (February 13), saying, “I was brought to tears again last night, as I’m sure many were, when Jennifer Hudson sang ‘I Will Always Love You’ on the Grammys in memory of Whitney. Like everybody else, I am still in shock. But I know that Whitney will live forever in all the great music that she left behind. I will always have a very special piece of her in the song we shared together and had the good fortune to share with the world. Rest in peace, Whitney. Again, we will always love you.” For her part, Hudson was overjoyed to have a chance to say goodbye to her mentor at the Grammys. “It was the greatest honor of my life to be able to be the one to pay tribute to Whitney’s memory,” Hudson said in a statement Monday. “It was from my heart. I haven’t stopped crying since she passed. Her family is in my prayers.” Stick with MTV News all for all the Grammy red-carpet fashion , Grammy winners and performance recaps until the hangover wears off! Share your condolences with Whitney’s family and friends on our Facebook page. Related Videos Whitney Houston: Life And Music Of An Icon Related Photos Whitney Houston: A Life In Photos Related Artists Whitney Houston Jennifer Hudson
New single ‘Part of Me,’ which Perry debuted at awards show, has some pretty pointed references to her ex-husband. By Kara Warner Katy Perry performs at the 54th Annual Grammy Awards Photo: Robyn Beck/ AFP/ Getty Images Although Katy Perry has yet to speak out publicly about her split from husband Russell Brand , she sent a pretty clear message out about her post-breakup emotions via Sundays night’s Grammy performance of new single “Part of Me.” The midtempo pop song — Perry’s next single — features several key phrases that speak to her relationship with Brand and the apparent emotional ups and downs she suffered along the way. “Days like this I want to drive away/ Pack bags and watch your shadow fade/ You chewed me up and spit me out like I was poison in your mouth/ You took my life, you drank me down/ But that was then and this is now.” Perry’s message in the song is one of empowerment and moving on, with lyrics like “This is the part of me that you’re never gonna ever take away from me,” “You’re not going to break my soul” and “Look at me, I’m a sparkling firework, a dancing flame/ You’ll never put me out again, I’m glowing.” She briefly touches on the ever-present public attention she receives, wanting to throw away her phone and trying to discover who her real friends are. Perry’s most intense lyrics accuse a former lover of deception and a lost innocence, the most obvious Russell reference being a statement about her wedding band: “You can keep the diamond ring, it don’t mean nothing anyway/ In fact, you can keep everything — except for me.” This isn’t the first time Perry has taken to songwriting to express feelings over a public breakup. The Teenage Dream track “Circle the Drain” reportedly presented a powerful picture of her rocky relationship with “Gym Glass Heroes” frontman Travie McCoy: “You fall asleep during foreplay/ ‘Cause the pills you take/ Are more your forte/ I’m not sticking around to watch you go down/ Wanna be your lover/ Not your f—ing mother/ Can’t be your savior/ I don’t have the power/ I’m not gonna stay and watch you circle the drain.” Stick with MTV News all for all the Grammy red-carpet fashion , Grammy winners and performance recaps until the hangover wears off! Related Videos 2012 Grammy Awards Show Highlights Related Photos Lovebirds: Katy Perry And Russell Brand Related Artists Katy Perry
Bigger Than the Sound wonders: Does Perry’s latest mark the death of the album? By James Montgomery Katy Perry’s Teenage Dream Photo: Capitol Records Conventional wisdom these days seems to hold that the album is dead, singles are the lifeblood of the music industry, and people prefer their music as bite-size chunks, in whatever bit rate available and on their phones whenever possible. This is conventional wisdom, of course, because it is probably true. Just look at the carnage on the Billboard albums chart for proof. It would seem that nobody buys albums anymore (unless they have Eminem’s name on them) and that we’re all just a few short years away from the complete extinction of the medium. That is not as farfetched as it might seem. In fact, it’s basically a certainty at this point. Still, perhaps you continue to believe in the power of the long-player, in the majesty of the deep cut. Perhaps you are holding out hope for the return of the 80-minute magnum opus or the darkened-room, double-disc experience. Who’s to say you are wrong? Well, I am. And so is Katy Perry. Because next Tuesday, she’ll release Teenage Dream, 44 minutes of shimmering, pitch-perfect pop music that may very well signify the end of the album as we know it. Sure, it will undoubtedly top the Billboard albums chart and will almost certainly go platinum many times over, but really, Dream is an album in theory only. There is a cover, and a track list and a lengthy list of songwriting credits attached to it, but those things all seem like formalities. This is a collection of singles, a Whitman’s sampler of pop tunes, with seemingly no thought given to cohesion or sequencing. It is a no-concept record; there are no through lines or plot points or so-called “album tracks.” You can listen to it in any order and have roughly the same experience. In fact, it’s almost better that way. This is perhaps the first album in history that lends itself to the shuffle function on your iPod, which is sort of ingenious when you think about it. And none of that is meant to suggest that Teenage Dream isn’t a genuinely rousing success (in parts, it definitely is), but rather, I mention it because it makes writing about Dream as an album rather pointless and unfair. Because as an album, it’s sort of a mess. Sequentially, it jumps from a sweeping ballad (“Firework”) to a song about dudes with big dongs (“Peacock”) to an angry breakup tune (“Circle the Drain”) to a sweetly voiced lament on lost love (“The One That Got Away”). It’s the kind of arranging only R. Kelly is crazy enough to try — check his 2007 album Double Up, on which he follows a song called “Sex Planet” with “Rise Up,” a tribute to those slain in the Virginia Tech shootings — and it’s jarring, to say the least. And then there’s the matter of Perry’s emotional range, which, on the album, seems limited to just two extremes: starry-eyed ing